If I switch showrunners and I get to stay on the show, I approach it like it's their show, and I'm here to write their music for them.

I've always approached television from a little more cinematic perspective, if not a much more cinematic perspective because of the shows I have been fortunate enough to work on.

I think the thing that music can do is be unsettling. It is abnormal - music that's perceived to be different in an unresolved or unusual way.

What I love more than anything is Jerry Goldsmith's 80's music and Bernard Herrmann's genre music from the 50's and 60's.

If I switch showrunners and I get to stay on the show, I approach it like it's their show, and I'm here to write their music for them.

Sometimes I find bringing in my old ideas is just detrimental.

While the accompanimental [sic] figures come from Prelude, the melody is wholly original to this theme. First stated on a lonely duduk, and then in octaves by the violins and violas, it is a melancholy and contemplative tune.